Ynys-Hir, Mist and Egret

 

A thick mist clogs the estuary all day, a little egret shines brightly in sunken creeks. 

Foel Goch and Ynys-hir

Early Spring, Foel Goch the red hill and wooded Ynys Hir in the foreground. Day dispersed with sound of lapwing in bouts of display, settling into new territory.   

Winter Rush

Winter thrush began to arrive at the beginning of the week, with around 1000 fieldfare at Clywedog on Sunday evening. By Wednesday a massive wave of 2000-3000+ were moving down the Gilfach valley stripping the mountain rowans at an incredible rate. Feeding frenzies could be spotted far off because the trees seemed to vibrate and splinter as the birds scrambled around the branches filling their crops. Flocks the length of the valley moved in paddling flight over the hill tops, then swooping low over my head, around and again like a conveyor of birds stretching for miles. Flocks would break off, switch direction, scout and foray before the current of movement would break and birds fall out of the sky, descending on one of the red berry laden beacons lighting up the hill side. The harsh clacking calls of the fieldfare became ambient sound throughout the valley, whilst silence became disruptive as it usually precluded an eruption of alarmed birds disturbed from feeding by ominous shapes in the sky. With the sheer number of birds in the air I found it impossible to spot the threatening silhouette of a raptor at such times although plenty were about, buzzards and kites seemed to congregate and of course peregrine and sparrow hawk, lurked in the wings.

It took me most of theses first few encounters to learn how to approach these birds and in terms of drawing to ‘get my eye in’. Getting your eye in, is about becoming familiar with a subject so as to draw it intuitively. For me a lot of this is to do with understanding what is achievable, for example, here the birds were constantly moving especially while feeding, but I learnt that they rested at certain times in clusters at tops of trees allowing there forms to be studied in drawings I aimed to complete in about 30 seconds. I could build up the groups and begin to form compositions of natural posture. Crayon or pen was best for this rapid movement as marks had to be definite deliberate, as such drawings rely on split second decisions.

Numbers at Gilfach peaked on Thursday as the birds funnelled through the bottom of the narrow valley and gradually dispersed along the wide track of the Wye and beyond perhaps into the Elan valley. On Friday a hillside near Tylwch, laden with red Rowan trees became the focus, I had the best success here because the steep slopes accessed by a sheep track afforded great views from the cover of trees still in leaf ( cover from above seems most important as the birds scan from the air to ensure it is safe to descend). By the end of Friday the original number of 1000+ fieldfare and redwing with five times more starling began to dwindle as a pair or more sparrow hawk striked the flocks. By Saturday it was not worth waiting as the birds could no longer feed, since a raptor would be waiting for the opportunity, plunging into a tangle of wings and branches every time a group dared alight. Also of note a group of 22 raven playing on the ridge, possible goshawk and first brambling of winter.

Many drawings were scrapped to begin with but as the days progress I developed a kind of short hand for theses birds, so I can now at least visualise drawing more challenging numbers, movement and behaviours such as the incredible acrobatics performed when feeding that lasts only a few seconds. Two ideas emerged this week, firstly the drawings which I have discussed above which, as I originally planned, can be worked into monoprints (when I get back). Also I have enough material to paint the flocks in the stunning Gilfach landscapes. Several compositions in mind especially this mountain side which I sketched yesterday evening as the rain began to pour, sometimes this helps explore colour and definition since the work is constantly being washed away and applied over and over in a kind of evolution. End result not much but a useful exercise to loosen up my landscape. (um, ru, az, cy, bs) This mast year, means lots of rowan still left on the hillsides, so with luck and another easterly to bring a new wave through there will be more opportunity to draw these birds and the exciting occasion of their arrival.    

    

From Y Glog

Towards Llandinam hills from Y Glog

I heard about Y Glog from a witness statement during the ongoing wind farm enquiry at the Oak in Welshpool. Y glog is a beacon, a globe bulging away from the steep valley side; a site of bronze age tumulus, chosen no doubt for its commanding view over most of Mid Wales. Fields faceted together in infinite geometric receding in a pattern that belies the rolling soft geology of the foot hills and valleys right to the jagged horizon of South Snowdonia and more immediate the plateau of Llandinam’s hills which I have learnt to appreciate as a dominating character, an Ayres Rock or Sugar Loaf of a hill to me, alone yet dominant. Here I focus on the steep slope immediately facing Y Glog from the west, the trees are beginning to turn accentuating the hedges and gullies where they grow with an orange blaze against the green land. I draw in the contours with shadows leaving tree tops in highlight and the fields which I will overwash green. Such landscapes are a battle to keep alive, easy it is for the green washes to overwhelm, flatten and dull. I reach the make or break point after washing in the green (cb and aur very cold) which dulls the painting, so I decide a stronger definition of shadows is needed, I draw bolder as they now lengthen, cloaking and filling the folds of the land.

From Y Glog, dusk

Around five, the hillside in front of me is submerged in shadow as the sun drops low behind it; all but a sliver of gold on the hill top is in darkness. A dark wash of reticulating cadmium green is the ground in which to drop more shadows and only the minimal burst of colour. No time to dry, so everything is wet in wet which suits the hazy forms on the shadowy hillside, a hedge a road a farm. But in fact where the light catches the ridge silhouettes were crisp and clear, which would be a nice distinction to make – adding focal point I think.

Llanwyrtywaen

Llandinam hills from Llanwyrtywain on 9th (every feature has a name I am told, need to look up) for the same project. These are early attempts; what I aim for is the character individuality of a landscape illustrated precisely or minimally summed up, a portrait.

B&W Illustration

Some of the Illustrations to feature in the Ceredigion Bird Report, out next month.

Peregrine

Red Kite; Feeding time, Nant Y Arian

Waxwing

Dipper

Manx Shearwater; Feeding frenzy, Borth

Flamborough Kittiwake II

Latest print, working on long mural format, mark making close to original sketch. Earthy colours taken from cave painting sites like Altamira.

Flamborough Kittiwakes

I made this drawing of Kittiwakes on July 7th, as a sketch to later make into a print. Drawn from beach at Flamborough head during low tide, chalk stone ledges strewn with nests. The long format ties in with the influence of cave paintings which influences these mono-prints, e.g. strong line, rich earthy colour, mark making, expression of movement.

Trial run today on a small plate with simple bs, cb (1st) rs, cb, ru (2nd) (cr, az) palette. 

Rocks bluer, colder, more definate forms needed - shadows